Have these people really toxified the work of Khan, Stuart and Bausch?

I hate being critical of critics (it’s hard for it not to sound so petty) but Jennings’ comments tend to exacerbate the theory/feeling dichotomy in dance in the UK. That is, dance is either something that makes you think or makes you feel (and that the latter is preferable), and that it can’t be an experience that results in audiences slipping through and across thinking–feeling.